German Northern Renaissance Painter, ca.1470-1528,was an important German Renaissance painter of religious works, who ignored Renaissance classicism to continue the expressive and intense style of late medieval Central European art into the 16th century. Only ten paintings (several consisting of many panels) and thirty-five drawings survive, all religious, although many others were lost at sea in the Baltic on their way to Sweden as war booty. His reputation was obscured until the late nineteenth century, and many of his paintings were attributed to Albrecht D??rer, who is now seen as his stylistic antithesis. His largest and most famous work is the Isenheim Altarpiece in Colmar, Alsace (now in France). The details of his life are unusually unclear for a painter of his significance at this date, despite the fact that his commissions show that he had reasonable recognition in his own lifetime. His real name remains uncertain, but was definitely not Grunewald; this was a mistake by the 17th-century writer, Joachim von Sandrart, who confused him with another artist. He is documented as "Master Mathis" or "Mathis the Painter" (Mathis der Maler), and as using as surname both Gothart and Neithardt - this last may have been his surname, or more likely that of his wife. He was probably born in Wurzburg in the 1470s. It is possible he was a pupil of Hans Holbein the Elder. From about 1500 he seems to have lived at Seligenstadt, when not working elsewhere. His first dated painting is probably in Munich, dated 1503 on a much later note which apparently records an older inscription. From about 1510 to 1525 he served in the Rhineland as court painter,  Related Paintings of Matthias Grunewald :. | The Annunciation | lsenheim altarpiece | The Crucifixion | The Annunciation | The Crucifixion, central panel of the Isenheim Altarpiece. |
Related Artists:
Nils von Dardel
Swedish, 1888-1943,Swedish painter. After a short time at the School of Art in Stockholm, which he found too conservative, he travelled for the first time to Paris in 1910. There he immediately made contact with the Scandinavian artists who were pupils of Matisse and with them made his debut in Stockholm in 1912 as a member of the Man of the Year 1909 group. Under the influence of Cubism, Dardel painted a townscape of Senlis, in a style that eventually developed into the sophisticated naivety of Funeral in Senlis (1913; Stockholm, Mod. Mus.).
Giulio Carpioni
(1613 - 29 January 1678) was an Italian painter and etcher of the early Baroque era. Born probably in Venice, Carpioni studied under Alessandro Varotari (il Padovanino) and was also influenced by the work of Simone Cantarini, Carlo Saraceni and Jean Leclerc. He came into contact with Lombard art after a brief visit to Bergamo in 1631. In 1638 he settled in Vicenza and executed most of his work there. He painted history and bacchanals, and also sacred subjects of a small size, many of which are to be seen in the churches in the Venetian states. Paintings by him may be seen in the Galleries of Augsburg, Dresden, Vienna, Modena, and Florence. He was also an etcher; his best plates being St. Anthony of Padua, Christ on the Mount of Olives, The Virgin reading, and The Virgin with Rosary. He died at Verona. Carlo Carpioni, his son, was also a painter. Among his important works are the Apotheosis of the Dolfin family (1647) and the Allegory of the Grimani Family (1651), and altarpiece of Sant'Antonio da Padova, a Virgin and two saints, and a Triumph of Silenus in the Gallerie dell Accademia of Venice. He painted a series of canvases for the Oratory of San Nicola da Tolentino in Vicenza.
Cornelis van Spaendonck Prints
Dutch 1756-1840 Cornelis van Spaendonck (7 December 1756 - 22 December 1839) was a Dutch painter who was a native of Tilburg. Spaendonck initially worked under artist Guillaume-Jacques Herreyns (1743-1827) in Antwerp, and in 1773 moved to Paris to study and work with his brother, floral painter G??rard van Spaendonck (1746-1822). From 1785 to 1800, Cornelis van Spaendonck was head of the porcelain works at S??vres. Due to difficulties encountered as an administrator, he was relieved of his directorship in 1800, but remained at S??vres as a designer and artist until 1808. In 1789 Spaendonck became a member of the Acad??mie des Beaux Arts. He painted throughout his lifetime, and displayed his works at the Salons of Paris until 1833. Most of Spaendonck's works were created with oils and gouache, and he is remembered for his lush still-lifes of flowers. Among his paintings were subjects such as De Fleurs Et Fruits, Vase De Fleurs, Bouquet De Different Fleurs, Fleurs Du Jardin, Corbeille Fleurs, et al. At his death in 1840 there were 29 paintings in his studio, which were auctioned soon afterwards.